Here’s my initial thoughts on all the films I’m looking forward to this year.

Coco
You just know this is going to be another Disney Pixar hit and that it’s going to fuck up my feelings for three days after.

The Post
I did not know that Nixon was impeached. Did you know that Nixon was impeached? Just one of the many interesting things I have learnt while reading about The Post.

Early Man
I was laughing at the trailer to this in the cinema and my friend asked me, with a look of pure disdain on her face “are you going to go see that?” And that is why we are no longer friends.

Phantom Thread
Daniel Day Lewis hasn’t really been a thing for me up until now, but I am ready for him to become one. I’ve been listening to the soundtrack and I can’t bloody wait.

Fifty Shades Freed
Yes, I am excited for this and yes I probably will go and see it on Valentines day. As my friend said to me...

Mis-en-scène in A Streetcar Named Desire (Elia Kazan, 1951) emphasises the way Blanche Du Bois (Vivian Leigh) discloses the true scope of her identity to the surrounding characters. When Blanche first appears, she presents herself as a Southern Belle with traditional values, when in reality she has been forced to leave her home town due to accusations of promiscuity. The complexity of her character is enhanced on screen using elements of mis-en-scène, making use of costume and lighting. In particular within the opening sequence of the film, these devices are used to give the viewer the elements needed to piece together the person Blanche truly is.

Initially, setting and props are used to suggest to the viewer that Blanche’s identity will be a focus throughout the film. She appears stepping from a cloud of steam onto the train platform, her face covered by a net headpiece. Revealing her...

Rear Window, Hitchcock’s meditation on voyeurism, where even reality is fake.

A wheelchair bound professional photographer begins to observe his neighbours to pass the time, when he witnesses a murder, he must convince his loved ones and friends of the truth before it is too late.

Rear Window has a brilliant aesthetic, filmed it its entirety at Paramount Studios, it blurs the line between what is ‘real’ and what is fake in a way that goes beyond the scope of other films entirely.

Two of the films three main characters, L.B. “Jeff” Jefferies (James Stewart) and Lisa Carol Fremont (Grace Kelly) lives are devoid of reality. That is to say, from the normal every day lives of normal, every day people. Professional photographer Jeff, is so far removed from every day life that he observes domesticity, albeit the seductive, frenetic domesticity of Hitchcock’s New York, as he might observe...